‘Poetry of their corpses’
The artist says:
“There are few things more consistent in my life than a sense of longing. To be Pacific Islander on the East Coast is to feel like a part of you is always missing. In my trips to Guåhan (Guam) I’ve learned to make the most of my time. I gather images and ideas that feed my creative practice. This practice has helped me connect to wherever I am living.
“In an era where we spend 90 percent of our lives in artificial environments, I find joy in the flora and fauna that indicate where you are. But biodiversity continues to shrink as land is eaten up by condos and shopping centers. For years I would draw dead animals not just for the poetry of their corpses but for the simple fact that we are an invasive species that has disrupted once thriving habitats. I seek out what I can find and compose them in my paintings into bouquets of animals, florals, and text.
“The antidote to måhålang is presence and connection. My large-scale paintings hint at memories of immersion and claim physical space where my subjects can live in perpetuity.’’
‘Layers of time’
The gallery explains:
"‘The Blue of Distance’ features a series of textile objects that combine weaving, knitting, and paint to create layered and dimensional images referencing architecture, family history, and abandoned landscapes.
“The imagery is drawn from an archive of family photographs, using layering of material as a process through which to explore the way that landscapes evolve overtime through geological and historical events. Each of these pieces function as a window through which to see layers of time and memory, and depict spaces that exist between the past and the present.’’
‘Beauty of impermanence’
The gallery says:
“Tom Schneider’s current series, ‘Ecstatic Gates,’ is a collection of 13 wall sculptures. Each piece is a miniature shrine or chapel and expresses the ethereal duality of the eternal and finite.
“Inspired by the beauty of impermanence, each piece incorporates bones, natural fibers, and decaying wood grains. The shimmer of gold peeking through the doors offers the suggestion of what lies beyond our world.
“Schneider’s sculptures are influenced by the elegant lines of Asian architecture and the Japanese aesthetic of wabi-sabi. They thereby honor imperfection, transience, the rawness of the natural world, and the beauty found in small and humble things.’
The architecture of language
She says:
“My work is concerned with the architecture that underpins language, which we use effortlessly but with little awareness of its beauty and complexity. Even a simple sentence has layers and layers of organization, governed by a complex set of rules and interactions happening below the level of our conscious knowledge. Small pieces of information (atomic components, as it were) combine into ever larger units within the concurrent linguistic systems at play. These components are organized into elegant structures that exist only in the mind. In my artwork, I analyze these structures and create visual correlates, looking for poetry and resonance in the rich patterns that emerge. ‘‘
I compose abstract frameworks by building up nested and connected forms set within reticulated grids. Networks of these grids serve as armatures on which small elements abut, merge, and grow into higher order objects. In these pages, the underlying structures of sentences are segmented, excerpted, and then recombined into forms reflecting their core, essential relationships.
‘A country seen in dreams’
The show description:
“These paintings evolved from a sense of unease, bred by recent events. The paintings do not present a particular memory or scenario but an emotional response, a reaction to a sense of disbelief and dislocation. The paintings were curative, a remedy for and revelation of the essence of my lived experience.
“In the paintings an atmospheric landscape surrounds a naked or mysteriously cloaked figure. Their backs are turned away from the viewer, the faces obscured. Each figure stands alone or in ambiguous relation to another figure. The locations are unspecified. This is ‘some other country’ – a country seen in dreams.
“The ceramic pieces function as a further exploration of the paintings. With special emphasis on surfaces, the vessels were created by forming, carving and adding clay pieces and mineral additives. They carry the emotional intensity formed by the mysterious ceramic alchemy of earth, water and fire.’’
New joys
No conditioner needed
Water view
The gallery says her “artworks explore the current madness of our political, cultural and sexual” context.
When he just trying to have fun
Manmade and thus disposable
….what hit them
'The return of hope'?
Filing away calm moments
Language structures
Looking at 'Water through the lens of climate change'
But you usually can't see the dangerous part
‘Are melted into air’
Prospero’s soliloquy in Shakespeare’s The Tempest:
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air:
And like the baseless fabric of this vision,
The cloud-capp'd tow'rs, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.